OF BRIDGES & BORDERS

John Bock
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Lusstorte, 2008. Video - installation. 50’50”

John Bock’ s work characterizes for its unconventional and chaotic spirit. He is considered one of the most influential artists of his generation. Bock’s work has a performance and theatrical format which translate into vide, cinema, installation and objects in which nothing is what it seems, which makes the classification into traditional disciplines difficult.

John Bock is an eccentric artist who, through his vocabulary and the elements which he uses for his performances, sculptures and films, reflecting upon contemporary society and carrying the audience to an almost incomprehensible universe. 

One can spot in his work influences of Paul McCarthy’s performances or Viennese Actionism and avant-garde art from the 20th Century, creating a peculiar universe where he uses certain objects and formats in which he gives particular meanings in his own encodings.

His objects and sculptures seem to be tools for his performances. Bock is the main performer in his audiovisual plays, being also the director, actor and set designer.

The works presented by Bock at Proa are recent projects that the artist produced exclusively in audiovisual format and are exhibited as a video installation in the exhibition room and the auditorium.

In the video installation Lusstorte (Enjoyable cake, 2008), Bock conducts a 50 minutes performance in which he is the only protagonist in a cake-shaped chaotic and false surrounding. In the film Im Schatten der Made (Made in the shade of, 2010), the artist unravels his ample creative repertoire, filled with references to German Expressionism and Absurd Theater. In Palms he develops his preoccupations, perhaps more concrete and narrative, stepping away from the surreal to devote to traditional script, constructed with some personal hints.

John Bock has a talent for creating complete works, erasing the frontier between the means he uses, uniting performance to cinema; cinema to sculpture and sculpture to installation in an intense way, emphasizing humor, drama and sarcasm.

 

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John Bock (1965, Gribbohm, Germany). Lives and works in Berlin. He works with the following galleries: Anton Kern, New York, Klosterfelde, Berlin and Sadie Coles HQ, London.  He exhibited in institutions such as MoMA and New Museum of Art in New York, Kunst-Werke in Berlin, Kunsthalle in Basilea, Secession in Viena, Trussardi Foundation in Milan, ICA in London and CAC in Málaga. John Bock’ s videos and installations were exhibited in some of the most prestigious events in art as the Venice Biennial, Manifesta 5, Yokohama Triennial, Documenta 11 at Kassel. Amongst his awards are the Ars Viva 99/00, the Alfred Krupp von Bohlen award for catalogues and the Halbach Foundation award.

Links
http://www.designboom.com/contemporary/bock.html
http://www.klosterfelde.de/sites/artists/bock/ar_f.htm
http://www.cmoa.org/international/the_exhibition/artist.asp?bock
http://www.regenprojects.com/artists/john-bock/

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Carlos Garaicoa
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Welcome, 2011. Installation. 700 x 300 cm

Since the 1990s, Carlos Garaicoa begins his artistic career in his hometown of La Habana. His critic discourse on contemporary society translates into works of diverse formats, such as photography, installation, interventions, video and drawings.

He works with the visions of urban spaces, which reflect the context through the projection of fictions, as for example certain works in which he reconstructs using textile techniques buildings that have never been built in La Habana. 

His projects feed from fragmented memory, referencing the failure of Cuban social and architectural programs and creating allegories to monuments and ruins from the past.

His work references political standpoints such as totalitarianism, dictatorship and socialism. He uses formats -such as models, architectural drafts and photography- to produce projects that denounce past events in countries that suffered from totalitarianism, without losing a certain degree of irony. The subject of border is present in several moments in the works of the artist, being that he produced a series of interventions and videos linked to political frontiers and dividing walls.

For Of Bridges & Borders 2011, Garaicoa started a new work produced together with Fundación Proa, whose starting point is Cuban immigration to the U.S. Garaicoa says about Welcome (2011): “It is an installation linked to my previous work Der Gast/El Invitado (The Guest, 2006), where I dealt with existing bureaucratic systems to travel from one place to another in third world countries. I also talked about the possibility/ impossibility of movement and psychological adversity that an individual who has to endeavor all that paperwork has to go through to move, visit or migrate”.

In the particular case of Welcome, the artist reunited for years invitations to participate in raffles for Green Card to live in the United States. During the period when he stocked this letters, he was unable to travel to the U.S. for political reasons.  The work plays with this dichotomy between the constant temptation of the invitation and the impossibility to actually access the country.

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Carlos Gariacoa (1967, La Habana, Cuba). Lives and works between La Habana and Madrid.
He works with galleries such as Continua, in San Gimignano, Beijing and Le Moulin; Elba Benítez, in Madrid; Luisa Strina, in San Pablo; and Habana, in La Habana. He had several exhibitions at MoMA (New York), the Museum of Contemporary Art in Caracas, the Museum of Modern Art in Medellin, the Museum of Modern Art in Dublín, Burgos’ Museum y the Royal Ontario Museum in Toronto.
He took part in important international artistic events such as the Biennales in São Paulo (2004/ 2010), Venice (2005/ 2009), Liverpool (2006), Dokumenta 11 in Kassel (2002), Sharjah, in the United Arab Emirates (2005), Moscow (2005) and Yokohama’s triennial (2001).
He received the International award for Contemporary Art of Monte Carlo and the Katerine S. Marmor Award in 2005, amongst others.
His work is included in important museum collection such as the Museum of Fine Arts from Houston, MoMA, Tate Modern, MOCA, Guggenheim in New York, MACBA in Barcelona, Reina Sofía Museum in Madrid, and the Maison Européenne de la Photographie in Paris.

Links:
http://www.carlosgaraicoa.com/
http://www.tate.org.uk/research/tateresearch/majorprojects/garaicoa/work_1.htm
http://www.elcultural.es/articulo_imp.aspx?id=20470
http://www.icaphila.org/news/pdf/Garaicoa_pr.pdf
http://bombsite.com/issues/82/articles/2523
http://www.e-flux.com/shows/view/8383

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Fabrice Gygi
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O_O, 2011. Installation. Leather and Iron. Variable dimensions

Fabrice Gygi finds inspiration for his works on the elements that surround him, structures that reflect order and power and the surveillance and intrinsic authoritarianism of social systems.

Throughout his career, he has developed projects and works in different formats -such as performance, engraving, and installations- involving objects or sculptures. For the last ten years, Gygi focused his production on three-dimensional works of medium and large format, with clear references to the industrial and structures from urban buildings or public spaces.

Several of his works show a clear inspiration on the military, jail, court, guns, order, democracy, totalitarianism, dictatorship, spots, condemnation and punishment. His pieces, all sharing a common denominator, create insecurity, and maintain the idea of a line between what is and is not art. There’s a sense of ready-made in some of his works, yet the pure minimalism is the most characteristic aspect in his art, as well as the reference to cold materials that are used to contain society within its “normalcy”.

Gygi has developed a large variety of objects, such as blockage, barricade or cages, all made from different materials that represent or form frontiers, obstructing the way. He also constructed vigilance towers or cross blocks with the same meaning, all together, creating his own vocabulary.

For Proa´s exhibition, the artist wanted to make a different kind of piece, a softer one than the ones his used to, and wanted to use materials from Argentina, generating a link to the local context. Like he had done for his series LTXYI, he chose leather and iron.

This new works refer to the colts of gymnastics, an obstacle surpassed only by dumping over it. As always, he translated this to his method and combined it with elements that suggest the shape of the piece. In this case, the artist, combined the materials and shapes of a ball used for the game of duck, Argentina’s national sport.

This work confirms his minimal and pure inspirations and the artist’s interest in materials, shapes and social paradoxes, for this game was banned in earlier times for its violent character and lack of rules. The sculpture is a reference to this violent and chaotic sport, but through an art piece and from a formal artistic language that refers to order, purity and control.

 

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Fabrice Gygi(1965, Geneva, Switzerland). Lives and works in Geneva. Recognized internationally for his installations, sculptures and minimalist focused objects with an aesthetic focused on political and social themes. Works with Galleries such as Chantal Crousel in Paris, Guy Bärtschy in Geneva and Francesca Pia in Berna. Held exhibitions in the Orange County Museum de California, Mamco of Ginebra, Magasin 3 of Stocolm, Museum of Contemporary Art of Tucson and the Swiss Institute of New York. Participated in important International artistic events as a representative for Switzerland, such as the Venice Biennale (2009) and São Paulo (2002). Recived several award, that incluye the 6th Cairo Biennal and the Swiss Art Awards between 1996 and 1998.

Links
http://editioncopenhagen.com/default.asp?Action=Details&Item=380
http://www.crousel.com/artists/gygy_fabrice/index.html
http://www.magasin3.com/v1/exhibitions/gygi.html
http://www.bartschi.ch/ggb.php?opt=artist&id=84
http://www.frieze.com/issue/review/fabrice_gygi/

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Thomas Hirschhorn
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Ur Collage, 2008. Series of 118 collages on paper. Variable dimensions. Artist collection.

Thomas Hirschhorn selected the series Ur Collage, initiated in 2008for his participation in Of Bridges & Borders. This is Hirschhorn’ s first opportunity to display together such a large number of pieces belonging to this series (118 of the 142 existing ones).

Here, Hirschhorn launches a dialogue or a confrontation with the images, making the public reflect on the basic relationships of the world around us, presented to us through the media, advertising and political propaganda.

upfront manner the contrast between socially accepted beauty and warfare disasters. In this case, the artist used the collage format with its classic artistic aspects, carefully creating harmonic shapes and colors, connections and dialogues between the images. Nevertheless, there is a great difference with the classic collage: the impact of its content.

In one hand, we can observe the seductive and glamorous images trying to sell clothing and accessories; on the other hand, pictures of dead corpses and crushed bodies, consequence of global conflicts. All produced with great wit and with the goal of achieving aesthetic unity. Ur-Collage demonstrates the new aesthetic order and the destructive orgy of global conflicts, criticizing the morbid mechanism of the media and press.

Hirschhorn is best known for his massive installations of chaotic character, usually made of cheap and everyday materials, such as carton, tape, aluminum paper, plastics, newspaper, magazines, cars and carefully selected books. Philosophy is always a reference, as well as politics and the press. He installs everything in a logical and precise manner within the exhibition space.

In this case, with Ur-Collage, he decided not to use this chaotic aesthetic, and returned to the traditional installation technique known as the “white cube”, which transforms the art piece into rare object.

In this presentation, his installation is of an extreme and mathematical radicalism, which flirts with a minimalism. Hirschhorn said  “making collages is an essential part of me, I’m inspired in collages by John Heartfield, Hannah Höck, Kurt Schwitters and above all by the Grosse-Plast-Dio-Dada-Drama three-dimensional of Johannes Baader”. Furthermore he highlighted the popular character of the collage: “ Making a collage is universal and is an opening to the masses.”

 

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Thomas Hirschhorn(1957, Berna, Switzerland). Lives and works in Paris, France. World renowned artist presented for the first time in Argentina. Renowned for his installations and projects -that combine art, philosophy and sociology, aesthetics and politics- Hirschhorn works with first line galleries such as Chantal Crousel in Paris, Gladstone Gallery in New York, Stephen Friedman Gallery in London and Kurimanzutto in Mexico. Exhibited his works in the world’ s most important museums, such as Pompidou, The Guggenheim, Tate Modern, MOCA in Los Angeles, New Museum and the MoMA in New York, and the Reina Sofia in Madrid. He also participated in great international artistic events, such as the Venice Biennale, São Paulo and Documenta 11 in Kassel. Among his most important awards: Prix Marcel Duchamp (2000) and the Joseph Beuys-Pries (2004). In 2011, Hirschhorn will be the Swiss representative for the Venice Biennale.

Links
http://www.gladstonegallery.com/hirschhorn.asp
http://www.tate.org.uk/magazine/issue7/hirschhorn.htm
http://www.papercoffin.com/writing/articles/hirschhorn.html
http://www.artnet.com/magazineus/features/saltz/saltz1-31-06.asp
http://bombsite.com/issues/113/articles/3621

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Lang/Baumann
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Beautiful Steps # 6, 2011. Installation. 580 x 180 x 500 cm

The work by L/B is interactive an dynamic. It is ornamental but surpasses the decorative frontiers, maintaining a style and taste that remembers successful designs from the 60s and 70s with a strong influence from Pop Art.

Most of the projects they convey are site specific, developed within the aesthetic and thematic context. Through their installations, they take spatiality as a major concern, as well as the use people give to the space in order to achieve harmonious projects that ensure wellbeing.

Most of the titles they use are a reference to wellbeing, such as COMFORT, BEAUTIFUL or PERFECT, connecting the art piece with a more commercial product that readapts to the different spaces according its necessities.

The vocabulary used by the artists is free enough to accomplish projects of any kind and for any space, within its characteristic abstraction. L/B’s creative process is seductive, since they have already established the unity between the bi-dimensional and the three-dimensional works with no conflict whatsoever. It doesn’t matter if it’s a mural or a staircase, an object of a flammable element; it’s all part of a body they skillfully know how to play with, with great humor.

For Of Bridges & Borders, L/B developed two separate projects that connect, yet can be read independently.

A, they produces a new piece, part of the Beautiful Steps series they started in 2009. They are white stairs that float in space and go nowhere. In this case, they can be translated as an impossible frontier. Stairs are normally used as an architectonical tool, yet here they are transformed into a sculpture-like piece that is there only as a representation of what they are.

The piece is obviously a reference to thinkers and artists of the past century, such as M.C Escher with its famous infinite staircase from his engraving Ascending and Descending (1960), or the impossible staircase by Penrose, made the year before, remembering the engraving from the Piranese jails, engraved by the Italian artists two centuries beforehand, or the stairs from Borges literary works.

 

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L/B (Sabina Lang: 1972, Berna / Daniel Baumann: 1967, San Francisco). Live and work in Bergdorf, Switzerland since 1990. L/B is an Swiss artists duo presented for the first time in Latin-America. They are known for their installations and site specific projects that mix art with design and architecture. They work with Galleries such as Loevenbruck in Paris, Urs Meile in Lucerna and Beijing. They held exhibitions in museums such as Palais de Tokyo, Paris, la Nuit Blanche in Madrid and Paris and Musac de Leon. Participated in Art Setouchi 2010, Megijima, Kagawa, Japan; Utopics 11, Swiss Art Exhibtion, Biel-Bienne, Switzerland. Among their awards, the most important would be the Swiss Art Award in 1998 and 2002.

Links
http://langbaumann.com/
http://www.everland.ch
http://www.loevenbruck.com
http://www.galerieursmeile.com

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Jorge Macchi
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Reacción, 2010. Blown glass. 210 x 102 x 60 cm

Jorge Macchi’ s work comes from life experiences, particular moments and memory trauma, sound and music. With an economic use of materials and lots o wit, he achieves simple things that seduce and surprise.

He knows how to balance the dose of each element for a work to be intriguing and attractive.

In several occasions, time and distance are used in his works as means to tell stories from different points of view, seducing its audience with small mistakes that should not be important. He makes them assume a very interesting position.

Macchi’ s work seduces, while showing that the simple things, often become stronger when properly translated.

Reaction is one of the last pieces he made related to frontiers and barriers. This minimalist piece, almost invisible for it is made of glass, could be interpreted as the fragility of power, since this same type of fences (usually made of metal) try to stop social pressure. Or, on the other hand, it could be interpreted as the invisible authority, always following us and forcing us make decisions that often contradict our own dreams.

In some ways, it’s a very present, yet transparent work. Its presence can be sensed before it’s seen. In the other hand, its materiality reminds us off the chemical reaction of laboratories, for it seems to have a visual reference to test tubes.

 

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Jorge Macchi (1963, Buenos Aires). Lives and works in Buenos Aires. Works with galleries such as Ruth Benzacar in Buenos Aires, Luisa Strina in San Pablo, Continua in San Gemignano and Peter Kilchmann in Zurich. Exhibitions in Blanton Museum in Austin, the Centro Gallego de Arte Contemporaneo in Santiago de Compostela, The University of Essex, Pinacoteca do Estado in São Paulo, the Contemporary Art Center Inhotim in Belo Horizonte, the Museum of Modern Art of Buenos Aires and The Museum of Contemporary Art in Ambers MUHKA. Participated in important artistic events such as the Havana Biennale (2000), Porto Alegre (2003 and 2007), Istanbul (2003), São Paulo (2004) and Venice (2005). Among the most important awards received: Premio Banco de la Nación Argentina (2000) and the Guggenheim Fellowship (2001). An important retrospective is being organized in the SMAK museum in Gent, Belgium for April 2011.

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Josep-Maria Martín
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La casa digestiva (La casa digestiva), 2010-2011. Installation with video. Variable dimensions.

Josep-María Martín´s work usually begins with research and a collaborative process with several people, generating negotiations that conclude in propositions and, in each project, a common action.
His art surpasses the aesthetic and commercial nature, intending to move from aesthetics to ethics. In his projects, art is created to change our lives.

ost of his works involve different disciplines and are generally developed during a long period of time.

For Of Bridges & Borders, the artist began a project entitled El viaje de Bamba (Bamba’  s journey), later carried into several creative processes, translated into different formats.

er months of research and interviews, he found Mouhamadou Bamba Diop, a Senegalese, author of the story shown. During the encounter, Bamba lived with 16 other fellow countrymen, all living illegally in the Lavapiés neighborhood in Madrid. The artist offered him the opportunity to reflect on his current situation and for him to tell his life in Senegal, his journey to Cayuco, the dreams they had, and what it’s like, to return to Kayar in order to create a better future for his city’s children.

Stating with Bamba’ s journey, in February 2010 he developed The digestive house for Lavapiés (La casa digestiva) for the Madrid Abierto 2010. In this work, the artist questions life in the small boat (patera), making an analogy between the digestive system and home as an organism digesting personal and collective memory.

The project gained strength and expanded. Josep-María Martín and Bamba traveled together to Senegal and taped videos, interviews and a movie. They gave conferences together for universities and were able to make a socio cultural project denouncing immigration problems from a simple encounter.

In December 2010, the project takes an exhibition format and it’s presented in the Centro de Arte Santa Mónica, in Barcelona and, for this opportunity, in Fundación Proa.

 

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Josep-Maria Martín(1961, Ceuta, Spain). Lives in Barcelona; works in Barcelona Perpiñán and Geneva. Artist and art professor for the Geneva and Perpignan Art Schools. His works and projects are focused in creating new strategies of intervention in consolidates social structures. The artist questions and criticizes the reality he wants to work in. Often his work become complex projects involving several people and places. He does not work in a formal manner or commercially with galleries, for his works belong to other circuits. He has shown his work in several institutions and several important events in Europe, Asia, Latin America and Africa, and participates in important artistic events such Insite_05, Tijuana/ San Diego; Exhigo-Tsumari Art Triennial, Nigata, Japan; and Dislocaciones, Santiago de Chile. He developed several public art projects in Japan and Spain.

Links
http://www.josep-mariamartin.org/es/index.php
http://www.madridabierto.com/en/artistical-interventions/2009/josep-maria-martin.html
http://www.funciona.info/tag/mavi/
http://www.portaldearte.cl/agenda/instalacion/2010/josep_maria.html
http://acvic.org/index.php?option=com_content&view=article&id=186:taller-de-torolab-raul-cardenas-y-josep-maria-martin&catid=59:exposicions-actuals&Itemid=88

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Gianni Motti
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First Step in Argentina (Primer Paso en Argentina), 2011. Cement. 55 x 55 x 12 cm

Gianni Motti is not a typical artist: “terrorist”, soccer player, politician, gallery owner, magician, “dead”, psychoanalyst, astronaut or telepath. His work uses several methods to destroy reality, injecting it with interference and disturbances.

Motti is, himself, the protagonist in most of his works. He is not necessarily a performer, acting in front of an audience. He is, more accurately, the one that documents and translates the artistic process, usually carrying a political position.

Usually, Motti’ s works are not material, meaning they do not always end in a material production of the work, but are often actions made in specific contexts and in relation to previous events. The work as direct actions, which accomplished with the help of the media and the institution, gallery or fair inviting him, achieves a greater impact. Motti interferes in everyday life with that method, surpasses the art world’s frontiers and makes a greater statement to an audience that does not expect one.

His imagination makes him elaborate works that offer an activist and political character never short of humor or irony.

Motti produced works of great international impact; such was the case of the soap Manipulite (2005), mage with fat extracted from the clinic that performed liposuction to Italy’s Prime Minister Silvio Berlusconi. In the 80s, through the media, he appropriated several natural disasters including eclipses, earthquakes, as well as the Challenger spaceship explosion of 1986.

Other actions have a more political agenda, developing infiltration strategies, elaborating parallel nets and challenging the rules of vision. For example, in 1997, during the 53rd session of the UN Human Rights Commission in Geneva, Motti entered as Indonesia’s representative, taking the delegates place. In the resolution period of the session, he stated the countries position defending ethnic minorities.
In 1995, he infiltrated the Neuchatel Xamax game, a first division Swiss soccer team, for the first game of the season. He entered the field in front of 11 thousand spectators and TV cameras, played with the ball a couple of times, in moccasins, before returning to the bench where the rest of Xamax’ s players were sitting.

In 1997, Motti traveled to Colombia and declared in front of the media he was going to force President Samper’ s resignation telepathically, and have to leave the country after all the threats he received.
In 2005, when the famous Abu Ghraib tortures were made public, Motti appeared in the VIP section of the stadium for Roland Garros semifinal, where Tim Henman and Guillermo Coria where holding a match in Paris, that coincided with President Bush’s visit for Normandy 60th anniversary. Medias caught him seating for the first 20 minutes of the match, with a paper bag on his head, as a sign of a pacifist protest against the tortures. The whole world watched Motti until the stadium’s security noticed his presence and removed him from the facilities.

In 2005, he made Miggs, a la recherché del Ante Motti, and was able to enter to the world’s most powerful particle accelerator, the LHC tunnel, where particles are propelled at light speed in a 27 km underground circle located between France and Switzerland. For this occasion, Motti made a complete tour documenting, for 5’50” hours, the entire performance, making histories greatest traveling on a person and generating his personal search.

Summarizing him, Motti submerges himself in the art worlds: works outdoors, using art as a method to perceive the world.

As a guest for Of Bridges & Borders in Fundación Proa, the artists made known it was his first time in Argentina and decided to create a special work: First Step in Argentina (2011), shown as the beginning of the exhibition. Motti wants to immortalize his first step in our Argentinean territory, in reference to Armstrong’s first step on the moon during the Apollo 11 mission.

Upon his arrival at the airport, he made a mold of his footstep at the exact moment he steps on Argentinean floor. The footprint is on exhibition at Proa and will remain always in Argentina. Many artists have made works on “the man that walks” (from Auguste Rodin to Alberto Giacometti). Her is not about the man that walks, but about the “man that walked” – a type of sculptural performance-.

The piece is here, and so is its spirit, but the body is somewhere else. The place is, actually, an organization of tensions, openings, pass ways and barriers, limits and extensions. In its interior, there’s emptiness and fullness, and the artist makes the spectator feel through his body First Step in Argentina, but also the artist’ s first mark on earth.

 

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Gianni Motti (1958, Italy). Lives and works in Geneva, Switzerland. Works with the galleries Nicolaes van Senger in Zürich and Cosmic Gallery in Paris. Participated in important international events such as the Venice Biennale (2005), Moscow (2007) and Bussan, Korea (2002).

Links
http://www.bugadacargnel.com/en/pages/artistes.php?name=giannimotti
http://www.frieze.com/issue/review/gianni_motti/
http://www.migrosmuseum.ch/en/exhibitions/exhibition-details/?tx_museumplus[exhib]=82
http://www.cac-synagoguedelme.org/presse/motti/PK_Motti.pdf
http://www.kunstaspekte.de/index.php?tid=63982&action=termin

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